Rumba quinto

Quinto

Oak Gon Bop quinto drum c. 1976.
Percussion instrument
Classification	Membranophone
Hornbostel–Sachs classification	211.221.1 (Instruments in which the end without a membrane is open)
Developed	19th century, Cuba
Related instruments
congas: tres dos, tumba
Musicians
Chano Pozo, Mongo Santamaría, Candido Camero, Armando Peraza, Francisco Aguabella, Carlos "Patato" Valdés, Ray Barretto

The quinto (literally fifth in Spanish) is the smallest and highest pitched type of conga drum. It is used as the lead drum in Cuban rumba styles such as guaguancó, yambú, columbia and guarapachangueo, and it is also present in congas de comparsa. Quinto phrases are played in both triple-pulse (12/8, 6/8) and duple-pulse (4/4, 2/2) structures. In columbia, triple pulse is the primary structure and duple pulse is secondary. In yambú and guaguancó duple-pulse is primary and triple-pulse is secondary.

The optimum expression of quinto phrasing is shaped by its interaction with the dance and the song, in other words, the complete social event, which is rumba.

During the verses of the song the quinto is capable of sublime creativity, while musically subordinate to the lead vocalist. There are natural pauses in the cadence of the verses, typically one or two measures in length, where the quinto can play succinct phrases in the “holes” left by the singer. During the verses the quinto does not demonstrate technical virtuosity so much as taste and restraint.

Once the chorus (or montuno section) of the song begins, the phrases of the quinto interact with the dancers more than the lead singer. At this time, the phrases often accent cross-beats or offbeats. Many of the quinto phrases correspond directly to accompanying dance steps. The pattern of quinto strokes and the pattern of dance steps are at times identical, and at other times, imaginatively matched. The quinto player must be able to switch phrases immediately in response to the dancer’s ever-changing steps. The quinto vocabulary is used to accompany, inspire and in some ways, compete with the dancers' spontaneous choreography. Yvonne Daniel states: "The columbia dancer kinesthetically relates to the drums, especially the quinto . . . and tries to initiate rhythms or answer the riffs as if he were dancing with the drum as a partner."

Each quintero ('quinto player') interprets the requisite phrases in their own way. Quintero Armando Peraza (b. 1924) states: "Although there is a structure of rhythm in columbia, yambú, or guaguancó, the good rumbero will always follow the dancer’s steps and at the same time express his own individuality. Same thing with the dancer, who will have the ‘rules’ of that particular rumba to follow but will put his own particular stamp on each performance. Creativity and individuality has always been and still is the name of the game."